Showing posts sorted by relevance for query Sun Ra Minimoog. Sort by date Show all posts
Showing posts sorted by relevance for query Sun Ra Minimoog. Sort by date Show all posts
Monday, August 14, 2023
The first recording with Minimoog synthesizer - Sun Ra – ‘My Brother The Wind’ (1970)
video upload by George Greene
"The first recording with Minimoog synthesizer (Model B prototype) - Sun Ra And His Astro Infinity Arkestra – ‘My Brother The Wind’ (1970)
In 1969, Sun Ra had recorded on Moog Modular synthesizer at the New York midtown studio of Gershon Kingsley. Those recordings were issued on My Brother the Wind, Vol. 1 (although it was not titled 'Vol. 1'— it only achieved that reference after 'Vol. 2' appeared). The following year, drummer Tommy Hunter arranged a meeting between Sun Ra and synth pioneer Robert Moog in upstate Trumansburg, New York. Bob and his crew were testing prototypes of the Minimoog at that time, inviting Sun Ra to explore its sounds. A recording of this test session was made and, although not originally intended for commercial release, partly released many years later in 1992 (My Brother the Wind, Vol. 2, CD tracks 7-11: The Wind Speaks, Sun Thoughts, Journey to the Stars, World of the Myth 'I', The Design - Cosmos II). But more significantly, it was during this visit that Moog loaned Sun Ra a prototype Minimoog (Model B), several months before the commercial instrument (Model D) was introduced in March 1970. Ra immediately added the instrument to his repertoire of keyboards, later acquired a second, and featured the Minimoog prominently on many of his recordings of the early 1970s. Sun Ra sometimes played two Minimoogs at the same time to achieve a duophonic synthesizer sound.
#ElectronicMusic #SunRa #Minimoog #MyBrotherTheWind #BobMoog #Synthesizer
All rights belong to their respective owners."
You can find dditional posts mentioning Sun Ra and the Minimoog here.
You can find Sun Ra – ‘My Brother The Wind’ on Amazon here.
Found this one updating this old post, after posting AutomaticGainsay's The History of the Minimoog Prototypes. Down the rabbit hole I went...
Thursday, November 07, 2013
Sun Ra & the History of the Minimoog at The Bob Moog Foundation
The Bob Moog Foundation has a post up featuring Sun Ra & the history of the first Minimoog. Sun Ra was given a prototype Model B. The later Model D was the released production model. You can find a couple of videos of Sun Ra with the prototype Model B here and an audio interview with an image of the prototype here.
"In 1969, a year before the introduction of the Minimoog, Sun Ra became familiar with Bob Moog’s modular studio synthesizer. He was given a demonstration in New York by Gershon Kingsley.[i] Sun Ra first met Robert Moog after Downbeat journalist and Sun Ra acquaintance Tam Fiofori arranged for a visit to Moog’s factory in Trumansburg in the Fall of 1969. [ii] This was most likely October. Bob and his crew were testing prototypes of the Minimoog at that time, inviting Sun Ra to explore its sounds. A recording of this test session was made and, although not originally intended for commercial release, partly released many years later in 1992 as the 'Moog Experiment' (My Brother the Wind, Vol. 2, CD tracks 7-11, Evidence Records.) But more significantly, it was during this visit that Moog loaned Sun Ra a prototype Minimoog (Model B), several months before the commercial instrument (Model D) was introduced in March 1970...
What is perhaps most interesting about this encounter is that the Minimoog was still an untested idea—at least in the mind of Bob Moog. The development of a portable synthesizer was a risk for his small company. But Sun Ra’s enthusiasm was one of the first indications that a veteran live performer found promise in the new instrument."
Read the full post at The Bob Moog Foundation here.
In related Bob Moog Foundation News:
Samoogarai T-shirt Comes to Life
Dr Bob's SoundSchool Expands to Rural Madison County
And don't forget, the 2014 BMF Calendar makes a great stocking stuffer!
Wednesday, March 22, 2006
Sun Ra Interview
An interesting and sometimes humorous interview of Su Ra and his synths (only 2.2M mp3). Some details below posted by elmacaco on AH. BTW, elmacaco is looking for the real scoop behind what happened to Sun Ra's Minimoog Model B prototype. Rumors have it that it was destroyed in a pawn shop fire but then interviews mention it went missing. If you know, please post in the comments.
"Hi everyone,
Well I've been getting kinda deep into Sun Ra since watching Space is the
Place, and have gotten my hands on a few recorded interviews. THis one in
particular is titled "Sun Ra Speaking at Oct. 1971 Rehearsal" and the link
below takes you to where you can download the mp3.
He starts off talking about an analog sequencer, with the lights chasing,
and how you can change the speed, etc. Then he talks about a synth you play
by touching a copper strip instead of keys, and how he couldn't play it
because his skin resistance was different, that he had to wet his fingers to
be able to play it. He says this was produced "around here" and I have
references to Sun Ra rehearsing in Oakland in 1971, So that could place
"Around here" in Buchla or serge range geographicly, but it seems a bit
early for serge. Anyone know anything about this encounter? Perhaps
someone who knows him can ask Don if he knows something about it? I
He also talks about the people at Moog calling him to have him return the
prototype, swap it for a new one, or pay for it :D. He says something about
a lawsuit or something, but he may be building the mystique around the Model
B, since he is talking to his band, and saying that no one has the one he
has, that they just made it for him when he went by there one sunday.
Sorry for all the detail, but the link only lasts a week, so it makes some
good archive info.
I've combed the archives here and in other places, and there doesn't seem to
be a lot of good information on Sun Ra and his instruments. The best I can
piece together about the Fate of the Model B is that it was destroyed in a
pawn shop fire, but in other Sun Ra interviews I see him mention that it
went missing. If anyone knows the real scoop, or just has some more
mythology, please share it.
Even general Sun Ra anecdotes are welcome, as he was a really interesting
guy, but particularly synth related stuff, as there isn't enough of that,
and it's on topic ;')"
elmacaco
Monday, March 01, 2021
Cosmic Tape Music Club Podcast hosted by The Galaxy Electric - E2 Sun Ra
video by The Galaxy Electric
New podcast from supporting members, The Galaxy Electric. Gear talk at 9:40, and 01:04:14 on Sun Ra's visit to the Moog factory back in the day. Sun Ra famously had the Minimoog Model B prototype. See this post for an interview with Sun Ra from 1971.
"Thanks for joining us for Episode 2 of the Cosmic Tape Music Club monthly Podcast! Join your hosts Jacqueline and Augustus of the experimental pop band The Galaxy Electric as they get cosmic on the topic of Sun Ra and his Arkestra band. In short he was a being that claimed he was from the planet Saturn. He was an avid reader and enthusiast of music instrument technology, as well as a virtuosic band leader, composer and pianist/keyboardist. We share all sorts of facts starting with his early life, his alien abduction, the various locations he lived and conducted the band from, his journey through being an early adopter of many different keyboards and synthesizers like the Moog Minimoog and Yamaha DX-7 (to name a few), his mystic ethos, and much much more!
Chapters
Intro 0:00
Uncertain Origin 1:30
Forbes Piano 8:30
1st Gear Head 9:40
Organ is the "Tastes Like Chicken" of electronic instruments 12:30
Future Minded 14:50
College 16:50
Alien Abduction 18:18
War Story 22:40
Chicago 25:10
Ghosting 32:00
The band were on call 34:30
Arkestra is Born 37:00
Tape Delay 41:50
A Joyful Noise bit 46:03
Would LCD get an alien high? 49:10
Rolling Stone Cover 51:50
California 54:30
Space is the Place 55:40
One Take 58:42
The Outer Space Visual Communicator 1:01:19
Cosmic Keys 01:04:14
Closing Notes 01:14:50"
Tuesday, July 23, 2013
Online Petition to Keep Bob Moog's Archives in Asheville with the BMF
You'll find the petition here. If you haven't heard the news see this post. I'll add this to it as well.
The petition was setup up via Michael Koehler who sent in the following:
"I am not involved with the BMF, but am friends with Michelle. She knows that I am doing this.
I am very passionate about it because I was fortunate to knew Bob for a short while and know that he would not want things to go the way that they are going right now. I am not trying discredit Cornell or say anything bad about them. They are a fine institution. I am just trying to help them see what moving the archives would mean.
There is so much more to this material. It is not simply 'Bob's stuff'. In Bob's work, he always included colleagues and musicians in the development of his works. If we send these notes off to some storage facility where only scholars can reference them, most of this is lost. The BMF is connected with many of the musicians that worked with Bob. They have the ability to connect the information that Bob wrote down from the engineering standpoint and re-connect it with the musicians that worked with Bob to create it. I have witnessed this first hand. I am telling you, this type of documentation and interpretation would be impossible with the items at Cornell. Think of all of the nuggets that have come out of the BMF. Stories, video clips, etc. Remember all of those insights? It is almost as if Bob were still here. Cornell will most definitely have a totally different output. It will be much more sterilized and scholastic.
I saw first hand the work that Michelle and her team have done. There were literally rooms of material laying in in total disarray. One piece of gear that was salvaged by her team was the very last minimoog made from the original factory. The synth was barely salvageable at the time. That was in 2006. Had it laid there, out in the shed, exposed to the elements, do you think it would even be salvageable today? And, even if it were, do you honestly believe that Cornell would even restore it? In the list of items, it most likely would not be on the top of the list. But the reason that this synth was so iconic to save was that back in the day, Bob had the fore-site to know that something like this should be preserved. Remember, this was at a time when you couldn't give analog synths away! Bob was like that, he knew to save things not for himself or his own legacy, but because some day, these things will be important to someone.
Another example, the BMF has restored 100 recordings. I have heard some of these. Amongst them is a recording where Bob sent a minimoog prototype to Sun Ra to play with and asked Sun Ra to let him know what he thought of the synth. Sun Ra used it in a performance the night that they received it. They did not have a user manual or any instructions, they just went with it. Sun Ra recorded this performance and sent the tape to Bob. This was the first recording of the minimoog and it was also an iconic recording of a concert as well. I can tell you that if this recording goes to Cornell, no one will be able to hear it. The licensing rights will never be able to be cleared by them for public consumption. No way a record label will give that away easily. Way too broad of a license. Where as the BMF would be allowed to play these recording during their exhibits and seminars because they would be able to keep custody of the recording preventing broad public dissemination.
I could go on, but I have probably typed your eyes out! :)"
You'll find the petition here.
The petition was setup up via Michael Koehler who sent in the following:
"I am not involved with the BMF, but am friends with Michelle. She knows that I am doing this.
I am very passionate about it because I was fortunate to knew Bob for a short while and know that he would not want things to go the way that they are going right now. I am not trying discredit Cornell or say anything bad about them. They are a fine institution. I am just trying to help them see what moving the archives would mean.
There is so much more to this material. It is not simply 'Bob's stuff'. In Bob's work, he always included colleagues and musicians in the development of his works. If we send these notes off to some storage facility where only scholars can reference them, most of this is lost. The BMF is connected with many of the musicians that worked with Bob. They have the ability to connect the information that Bob wrote down from the engineering standpoint and re-connect it with the musicians that worked with Bob to create it. I have witnessed this first hand. I am telling you, this type of documentation and interpretation would be impossible with the items at Cornell. Think of all of the nuggets that have come out of the BMF. Stories, video clips, etc. Remember all of those insights? It is almost as if Bob were still here. Cornell will most definitely have a totally different output. It will be much more sterilized and scholastic.
I saw first hand the work that Michelle and her team have done. There were literally rooms of material laying in in total disarray. One piece of gear that was salvaged by her team was the very last minimoog made from the original factory. The synth was barely salvageable at the time. That was in 2006. Had it laid there, out in the shed, exposed to the elements, do you think it would even be salvageable today? And, even if it were, do you honestly believe that Cornell would even restore it? In the list of items, it most likely would not be on the top of the list. But the reason that this synth was so iconic to save was that back in the day, Bob had the fore-site to know that something like this should be preserved. Remember, this was at a time when you couldn't give analog synths away! Bob was like that, he knew to save things not for himself or his own legacy, but because some day, these things will be important to someone.
Another example, the BMF has restored 100 recordings. I have heard some of these. Amongst them is a recording where Bob sent a minimoog prototype to Sun Ra to play with and asked Sun Ra to let him know what he thought of the synth. Sun Ra used it in a performance the night that they received it. They did not have a user manual or any instructions, they just went with it. Sun Ra recorded this performance and sent the tape to Bob. This was the first recording of the minimoog and it was also an iconic recording of a concert as well. I can tell you that if this recording goes to Cornell, no one will be able to hear it. The licensing rights will never be able to be cleared by them for public consumption. No way a record label will give that away easily. Way too broad of a license. Where as the BMF would be allowed to play these recording during their exhibits and seminars because they would be able to keep custody of the recording preventing broad public dissemination.
I could go on, but I have probably typed your eyes out! :)"
You'll find the petition here.
Wednesday, November 04, 2009
Sun Ra - Discipline 99
YouTube via trista300.
Don't miss this post on Sun Ra and the illusive Minimoog Model B prototype. A search on Sun Ra will bring up more interesting posts including video. Note search is off - just weed through the unrelated posts...
"Sun Ra
Astro-Black
1972
Lamont McLamb Trumpet
Atakatun Odun Conga
Eloe Omoe Clarinet (Bass)
Pat Patrick Clarinet
Sun Ra Keyboards Vibraphone Main Performer Synthesizer
Charles Stephens Trombone
June Tyson Vocals
Alzo Wright Viola Violin
Ruth Wright Vocals
Danny Davis Sax (Alto) Flute
Marshall Allen Sax (Alto) Flute
Ronnie Boykins Bass
Chiea Conga
Ahk Tal Ebah Trumpet
Thomas "Bugs" Hunter Drums Percussion
John Gilmore Sax (Tenor) Percussion
Danny Ray Thompson Sax (Baritone) Flute"
Tuesday, November 09, 2010
Sun Ra - Video of the Original Minimoog Model B Prototype
video upload by townesvancant
via Gorgio of www.gleetchplug.com
"the only known filmed performance of a Minimoog Model B is in Sun Ra's Space is the Place mind-blowing feature film..."
Update:Also see this post, this post, and this post.
via imdb.com : "Sun Ra - space-age prophet, Pharaonic jester, shaman-philosopher and avant-jazz keyboardist/bandleader--lands his spaceship in Oakland, having been presumed lost in space for a few years. With Black Power on the rise, Ra disembarks and proclaims himself "the alter-destiny." He holds a myth-vs reality rap session with vblack inner-city youth at a rec center, threatening "to chain you up and take you with me, like they did you in Africa" if they resist his plea to go to outer space. He duels at cards with The Overseer, a satanic overlord, with the fate of the black race at stake. Ra wins the right to a world concert, which features great performance footage of the Arkestra. Agents sent by the Overseer attempt to assassinate Ra, but he vanishes, rescues his people, and departs in his spaceship from the exploding planet Earth."
This one added to the Synths in TV and Film post.
LABELS/MORE:
Giorgio Sancristoforo,
Gleetchplug,
MOOG,
Synth Movies,
Synth TV and Film,
Updates,
Video
Sunday, March 11, 2018
Abbey Road Institute: The Moog session - The synth that shaped musical history
Streamed live on Dec 1, 2017 Abbey Road Institute
"On the 1st of December we are featuring another historic instrument that shaped musical history: The MiniMoog!
How did it become such an icon?
What makes it so special?
And why does it sound so massive?!
We got you covered. Tune in on the 1st of December.
Shaping musical history:
The Minimoog was designed in response to the use of synthesizers in rock/pop music.
Jazz composer Sun Ra was the first to use a prototype of the Minimoog in his music and Keith Emerson (musician and composer) was the first musician touring with a Minimoog, demonstrating some amazing pitch-bending techniques for the first time with many keyboard players following his example afterwards. Just like the Hammond organ (as shown in our previous event) the Moog became a serious competitor to the electric guitar, making guitarist looking for eleven on their volume control as the only way to compete. Because of its fantastic and cosmic sound, it soon was embraced by the gods of the new progressive rock with bands like Yes and Emerson Lake & Palmer.
As keyboardist of Yes, Rick Wakeman said the instrument 'absolutely changed the face of music.'
Besides progressive rock, Jazz legends like Chick Corea and Herbie Hancock added the Minimoog to their arsenal, delivering devastating jazz solos and Bob Marley introduced the Minimoog when the band first played in the UK on the BBC.
After taking the progressive rock and jazz world by storm, it made its way back towards the synthesizer’s roots, in electronic pop and experimental music. One of the most well-know band using the Minimoog for this purpose was Kraftwerk on their albums Autobahn and The Man-Machine. Shortly after that, the characteristic sound of the Minimoog became an important part of the synth-pop era and inspired an entire generation of electronic musicians like Brian Eno and Ultravox.
Since then the Minimoog transformed the music landscape of every musical genre, from the R&B/Soul of Earth Wind & Fire and the most successful recorded album of all time, Thriller from Michael Jackson, till the West-Coast sound of Dr. Dré and the industrial music of Trent Reznor.
But a major transition occurred when electronic music was slightly forced back into the underground and analog synthesizer started shaping the sound of House Music, Techno and all other genres of electronic music. This is where the Minimoog found a new homebase in the hands of producers and bands like Carl Craig, 808-state, Portishead and many more leading to the iconic sound in today’s electronic music and the production of new Moog synthesizers and soundalikes.
The original Minimoog is a true classic. But what makes the sound so special?
On the 1st of December, MarcoAntonio Spaventi (music producers, mastering engineer, analog synth evangelist and Abbey Road Institute lecturer) will give a Masterclass about the Minimoog and it’s unique sound at Abbey Road Institute Amsterdam. In order to share his love for the Moog, this masterclass will be live streamed through Facebook Live.
MarcoAntonio will talk about the differences between the original Minimoog Model D and the Minimoog Voyager, the unique features of both instruments and the technical aspects that makes it sound so special. But most important, you can hear them live including a jam with an hardware sequencer at the end of the session!
Next to the above mentioned synths, we will have a variety of other Moogs to explore the different sounds and flavours of Robert Moog’s legacy. With one very special model…
The Memorymoog!
Many say the Memorymoog is like having 6 Minimoogs stacked in one machine! While thats not entirely true it does sound like no other poly synth with a very specific and massive character. Just like the Minimoog, the Memorymoog gets his monumental sound due to certain imperfections of the instrument. A perfect example of finding perfection in imperfection! MarcoAntonio will explain you all about the different features that makes this synth so unique."
Wednesday, August 01, 2007
Synths in TV and Film
Note: some of the videos below have been pulled from YouTube, but I'm keeping mention of them up as a reference that they are out there.
Let the page load before scrolling - it's a long one.
Be sure to see the Synth Movies list and see the Synth Movies and Synth TV and Film labels for more.
1. Close Encounters of the Third Kind
Synths: ARP 2500 played by Phillip Dodds, head of ARP Engineering, Yamaha CS-?.
2. Fame Synths: ARP 2600, MOOG Minimoog
Let the page load before scrolling - it's a long one.
Be sure to see the Synth Movies list and see the Synth Movies and Synth TV and Film labels for more.
1. Close Encounters of the Third Kind
Synths: ARP 2500 played by Phillip Dodds, head of ARP Engineering, Yamaha CS-?.
2. Fame Synths: ARP 2600, MOOG Minimoog
LABELS/MORE:
ARP,
E-mu,
Eventide,
Featured,
Korg,
MOOG,
Roland,
Sequential Circuits,
Stocking Stuffers,
Synth Babes,
Synth Movies,
Synth TV and Film,
TONTO,
Video,
Yamaha
Thursday, November 17, 2022
Moog Minimoog Model D Back In Production
video upload by Moog Music Inc
Update: Factory build video added further below.
"In collaboration with Moog Music, the Will Gregory Moog Ensemble presents “Archimedes Screw,” a live performance from 11 musicians—with each of the 10 keyboardists using their own Model D to add layers of sound to the composition as it builds.
From the onset of the video, the stage is set: a mix of vintage and modern Minimoogs line the chancel of The Mount Without, a historic chapel in Bristol, UK. The acoustics of the space provide a warm depth to the sound of Minimoogs produced from every era they have been manufactured.
Utilizing MIDI integration for the 2016 and 2022 reissues, and MIDI-to-CV converters for the vintage units involved in this performance, the Moog Ensemble highlights the modern features alongside the classic sound. According to the group’s musical director and composer, Will Gregory, the instrument’s enhancements expand Model D’s realm of sonic possibility.
'The MIDI aspect of these instruments enables us to open polyrhythmic possibilities between the 10 parts that would be beyond humans to reproduce otherwise. Our hands become free for sound sculpting as we perform by manipulating the filter, resonance, modulation, and envelope controls in pairs. Both these aspects are very important to how I see the Moog Ensemble breaking new ground in live performance and simultaneously giving a more expressive and warm creation.'
'Archimedes Screw' demonstrates Model D’s timeless sound, playability, and relevance as a powerful musical tool for live performance. The Moog Ensemble manifesto, Gregory shares, is very much about live performance as a living breathing unit of musicians listening and responding together.
Will Gregory discusses his connection with the instrument and shares more details on how the ensemble composed this piece from a technical perspective on Moog’s website (moogmusic.com).
Goldfrapp’s Will Gregory is one of the UK’s leading advocates of using synthesizers and electronic instruments to create new sounds and reinvent old ones. Leading and performing with the Moog Ensemble since 2005, Gregory and its rotating contributors—which includes Adrian Utley of Portishead—perform a mixture of specially composed music, transcriptions of classical works, and their own versions of music from popular culture and film scores. “Archimedes Screw” will be featured on the debut Will Gregory Moog Ensemble album coming out via Mute Records in 2023.
More about the Will Gregory Moog Ensemble: https://willgregorymoogensemble.co.uk"
Moog Minimoog Model D : 2022 Edition : Vintage Analog Synthesizer
video upload by Perfect Circuit
Grab a Minimoog Model D today : https://bit.ly/3EhyVBw Read more about the legacy on our blog : https://bit.ly/3V0W5ml More Moog : https://bit.ly/3EfHm0c
"The Minimoog Model D Returns
We're excited to announce that the legendary Minimoog Model D analog synthesizer is back in production here at the Moog factory!
Originally released in 1970, the Minimoog Model D changed the face of modern music and has served as the archetype for all synthesizers that followed.
A groundbreaking innovation, the Minimoog was quickly embraced by a diverse roster of artists, such as Herbie Hancock, Kraftwerk, Jan Hammer, Sun Ra, Giorgio Moroder, Parliament Funkadelic, Pink Floyd, and Gary Numan—all shaping unique sounds and forging new genres with the instrument.
With Model D now back in production and available to order worldwide, this beloved, iconic instrument returns to inspire the next generation of electronic musicians."
Minimoog Model D | Live Build | From the Moog Factory
video upload by Moog Music Inc
Monday, August 14, 2023
The History of the Minimoog Prototypes
video upload by AutomaticGainsay
"If you've ever been curious about the genesis of the Minimoog, this series found on the Automatic Gainsay Patreon page, Automatic Gainsay: The Wavewrights, is for you. The series explores the history of the development of the Minimoog as well as the individual distinctive functionality found on the prototypes."
"Here is the URL that gives you access to this amazing content: patreon.com/automaticgainsaythewavewrights
The synthesizer music in this video was created with a multitracked 1974 Minimoog."
If you feel like going down the rabbit hole, click here for a search on Minimoog Prototype. You'll find some interesting bits from the archives. Then click here for results sorted by date, most recent to oldest. Unfortunately blogger doesn't support a sort by oldest to newest. Check out this DIY Minimoog from 1975, and Sun Ra's prototype Minimoog.
Friday, July 15, 2016
Monday, October 24, 2011
Moogfest Panels Feature Mavericks, Legends and Pioneers
"Moogfest History and Technical Panels Draw on Deep Legacy and Industry Connections
The Bob Moog Foundation is bringing together top minds in history, technology and education for this year’s history and technical panels. Experts, ranging from Bob’s colleagues in the seminal days of synthesis to the more contemporary sound sculptors of today, are coming from around the country to share their ideas and vast experiences. The Bob Moog Foundation will be responsible for the historical content at Moogfest, including items from Dr. Bob’s Archives such as rarely seen vintage photographs and historic audio clips from recently restored reel-to-reel tapes.
All panels, demonstrations, and workshops will take place between Noon and 6:30 PM EST at the Moogaplex, located at the Haywood Park Hotel complex at 1 Battery Park Avenue in downtown Asheville, just a stone’s throw from many of the music venues. They are first come, first serve for those who bought either weekend passes or have a pass for that particular day.
Convergence – Hardware and Software Integration in the 21st Century & The Award of OMG-1 One-Of-A-Kind Synth (Friday, 3pm)
The One-Of-A-Kind OMG-1, designed by Eric Persing
The creation of electronic music has always relied on exploring all technologies available. In the modern context, that often means transcending the divide between the tactile experience of hardware devices and the ever-increasing capabilities of computers. An incredible panel of sonic explorers moderated by Spectrasonics’ founder Eric Persing will investigate the challenges of how electronic instruments can reach their ultimate potential through the convergence of multiple technologies.
During this panel, Persing will be awarding his one-of-a-kind OMG-1 synthesizer to the winner of the OMG-1 Contest, Torley Wong. You won’t want to miss this historical moment!
The Bob Moog Foundation is bringing together top minds in history, technology and education for this year’s history and technical panels. Experts, ranging from Bob’s colleagues in the seminal days of synthesis to the more contemporary sound sculptors of today, are coming from around the country to share their ideas and vast experiences. The Bob Moog Foundation will be responsible for the historical content at Moogfest, including items from Dr. Bob’s Archives such as rarely seen vintage photographs and historic audio clips from recently restored reel-to-reel tapes.
All panels, demonstrations, and workshops will take place between Noon and 6:30 PM EST at the Moogaplex, located at the Haywood Park Hotel complex at 1 Battery Park Avenue in downtown Asheville, just a stone’s throw from many of the music venues. They are first come, first serve for those who bought either weekend passes or have a pass for that particular day.
Convergence – Hardware and Software Integration in the 21st Century & The Award of OMG-1 One-Of-A-Kind Synth (Friday, 3pm)
The One-Of-A-Kind OMG-1, designed by Eric Persing
The creation of electronic music has always relied on exploring all technologies available. In the modern context, that often means transcending the divide between the tactile experience of hardware devices and the ever-increasing capabilities of computers. An incredible panel of sonic explorers moderated by Spectrasonics’ founder Eric Persing will investigate the challenges of how electronic instruments can reach their ultimate potential through the convergence of multiple technologies.
During this panel, Persing will be awarding his one-of-a-kind OMG-1 synthesizer to the winner of the OMG-1 Contest, Torley Wong. You won’t want to miss this historical moment!
Thursday, December 19, 2019
Bob Moog Foundation's 2020 MINIMOOG 50TH ANNIVERSARY CALENDAR
via The Bob Moog Foundation.
"Just in time for the turn of a new decade, we are excited to release our 2020 calendar, The 50th Anniversary of the Birth of the Minimoog, which traces this synthesizer's history from the creation of the prototypes through its eventual release in 1970 and beyond, featuring rare images of the instrument including those with pioneering artists Sun Ra, Dick Hyman, and Mother Mallard's Portable Masterpiece.Images were drawn from the Bob Moog Foundation Archives, as well as from David Borden (Mother Mallards Portable Masterpiece), Dick Hyman, Douglas Trubey, and the extensive collection at the Electronic Music Education and Archive Preservation Project (EMEAPP), owners all four Minimoog prototypes.
Further honoring Minimoog history, the calendar features important dates along the evolution of the Minimoog on its journey to becoming the most iconic analog synthesizer of all times.
All profits from the sales of our calendar benefit our hallmark projects, Dr. Bob's SoundSchool, the Moogseum and the preservation of the Bob Moog Foundation Archives. Thank you for supporting our important work!"
Thursday, July 18, 2013
Bob Moog Foundation Objects to Archives Moving to Cornell, New York
via Mountain Xpress where you'll find the full article (you'll find my notes at the bottom of this post):
"A move to ship Bob Moog's archives from Asheville to New York is creating family discord over the best way to preserve the late inventor's legacy.
An electronic music titan, Bob Moog founded Moog Music, the world's leading manufacturer of analog synthesizers. His widow, Ileana Grams-Moog, announced July 18 that she's planning to donate his personal archive of notes, plans, drawings and recordings to the Cornell University Library's Division of Rare and Manuscript Collections in Ithaca, N.Y.
'It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,' Asheville resident Grams-Moog said in a press release. 'The Cornell Library makes its extensive rare collections accessible to students and scholars all over the world.'
Noting that Moog earned his Ph.D. in engineering physics from Cornell in 1965, she added: 'It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved and made available to current and future generations to advance upon his work.'
However, Grams-Moog makes no mention of the Bob Moog Foundation in her announcement, which has overseen the preservation of those archives for the last seven years in Asheville, where Moog lived from 1979 until his death in 2005. The foundation is a nonprofit organization run by Michelle Moog-Koussa, the inventor's daughter, who says that she and other family members are surprised and disappointed by the decision to ship the archives out of town..."
...
"Upon hearing of Grams-Moog's intentions to move the archives out of town, Moog-Koussa says the foundation is now 'considering our options.'
She adds: "No matter what happens, the Bob Moog Foundation will continue to carry on Bob Moog's legacy, and that his legacy is alive and well in our educational projects, which are thriving in this area.'"
----
My notes:
What is your opinion on this? Personally, the number one priority in my opinion is keeping the documents safe. I think they would be safe at either Cornell or The Bob Moog Foundation, so that imo is not an issue. The issue then is where would they be of the most value to the community and how do you define that? Exposure to the public or access to researchers? I don't see Cornell being as pro-active in spreading the works of Bob Moog as The Bob Moog Foundation. I think the archives may be safe in Cornell but my fear is that they will be all but forgotten aside from those that take the time to research them and then share that research with us. In other words, they will essentially disappear into the ether, unless someone makes the effort otherwise. The BMF was doing that. With the Bob Moog Foundation, his research would be at the forefront and present in everything they do. Your opinion? Click on the comments link below. Note although it currently reads 0, Facebook comments are there. Blogger only counts blogger comments in the count. It might take a sec for the Facebook comments to load after clicking the link.
Update: The following is the official press release on the move. I received it from Moog Music and Hummingbird Media a separate press outlet:
"Bob Moog's Archives Donated To World-Class Facility at Cornell University
Inventor’s Alma Mater to Receive Rich Collection
Yesterday Cornell University announced the archives of Dr. Robert A. Moog have found a home at their Sidney Cox Library of Music & Dance, thanks to a generous donation from his widow, Dr. Ileana Grams-Moog.
Dr. Robert A. Moog is the founder of Moog Music, the world’s leading manufacturer of analog synthesizers, and the inventor of the legendary Moog synthesizer. He received his Ph.D. from Cornell in engineering physics in 1965 and was a longtime resident of Trumansburg, N.Y. His personal archive of notes, plans, drawings, recordings and more will be housed in the Library’s Division of Rare and Manuscript Collections.
“It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,” Grams-Moog said. “It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved so that current and future generations may advance upon his work.”
Cornell has flourished as a center for research in music since the Sidney Cox Library of Music & Dance was founded in 1929, and its extensive holdings include a special focus on historical keyboard instruments. It collects heavily in 20th- and 21st-century music of Europe and the United States, including electronic music and music by Cornell composition alumnae.
“We’re thrilled to welcome this donation to Cornell, and we look forward to welcoming researchers from all over the world who hope to learn more about Dr. Moog’s life and work, ” said Anne R. Kenney, Carl A. Kroch University Librarian. “We pride ourselves on not only preserving valuable historical knowledge, but providing access to one-of-a-kind, original materials to as many people as possible.”
Dr. Grams-Moog continued, “Cornell is a 150-year-old institution with a long history of stewardship and dissemination of rare and valuable collections for education and research. Donating Bob’s archives to the university is the best opportunity to preserve and protect them so they will finally be accessible to students and scholars worldwide. In addition, they will be available to future generations long after we’re all gone.”
About Cornell University Library
Cornell University Library’s rich collections, expert librarians, responsive services and welcoming spaces inspire and nourish scholarship and learning throughout the university. Its world-class collection — nearly 8 million print volumes, nearly a million e-books and 5 million journal article downloads per year — covers incredibly diverse fields. The Sidney Cox Library of Music & Dance provides extensive holdings of printed materials and recordings to support the study of music."
--------------------
Update2: Michelle Moog-Koussa of The Bob Moog Foundation issues statement:
"Dear Friend,
The Bob Moog Foundation takes seriously its role as the only non-profit organization dedicated to preserving, protecting and promoting my father’s work for future generations. In was in this capacity that the Foundation made significant investments over the past seven years to rescue the majority of my father’s archives, and to protect and preserve them to prevent further deterioration from occurring.
Our efforts have included re-housing the collection in archival quality storage materials, securing climate controlled storage, cataloging thousands of items, cleaning and restoring a breadth of materials including almost 100 reel-to-reel tapes in the collection, and most recently securing state-of-the-art archival storage and processing facilities where researchers from around the world could acess the archives.
We have also worked to share the archives through many exhibits from California to our local region, exposing tens of thousands of people to the unique information and insights that the archives contain.
We did this based on a verbal understanding that these documents would eventually be donated to the Foundation.
Yesterday, an annoucement was made that Cornell University will be receiving Bob's archives. The announcement was made by Bob's widow, Ileana Grams-Moog, with whom we have been working closely for the past seven years, up until as recently as February 18, 2013.
The decision to abandon a pending agreement, which ignores the Foundation’s stewardship of my father’s archives, and move them out of Western North Carolina is disappointing and, we believe, not in keeping with my father’s intent. Asheville was my father’s home for 25 years and, in the end, his spiritual home. It is important that his archives remain in Asheville and that they are administered by the Bob Moog Foundation, where they can be considered within a wide musical and technological context and where they will benefit from being interpreted by the unified network of experts that surround the Foundation’s work.
The Moog Family is saddened and surprised not to be part of the discussion to move our father’s archives away from the organization where they would receive the most well-rounded care, and away from the area where the Bob Moog Foundation, Moog Music, and Moogfest are located.
Over the years, you have been witness to all of the dedicated work we have done for the archives. Many of you have visited our exhibits and complimented our efforts. At this time, we ask that you support us on Facebook and other outlets by reposting and commenting in ways that are reflective of our work.
With or without Bob's archives, the Bob Moog Foundation Archives remains a robust collection of historic materials that we have obtained, or that have been donated to us. We remain a repsitory of materials that represent the evolution of electronic music history. We are excited to be sharing some of the incredible material that we have obtained with you over the coming months. Please keep your eyes open for that.
I may be reaching out soon with other ways that you can help. Until then, I remain
Devotedly yours,
Michelle
Michelle Moog-Koussa
Executive Director
Bob Moog Foundation
P.S. Should you have any concerns about this topic, please be in touch at info@moogfoundation.org."
Update3 (also posted here):
Online Petition to Keep Bob Moog's Archives in Asheville with the BMF
You'll find the petition here.
The petition was setup up via Michael Koehler who sent in the following:
"I am not involved with the BMF, but am friends with Michelle. She knows that I am doing this.
I am very passionate about it because I was fortunate to knew Bob for a short while and know that he would not want things to go the way that they are going right now. I am not trying discredit Cornell or say anything bad about them. They are a fine institution. I am just trying to help them see what moving the archives would mean.
There is so much more to this material. It is not simply 'Bob's stuff'. In Bob's work, he always included colleagues and musicians in the development of his works. If we send these notes off to some storage facility where only scholars can reference them, most of this is lost. The BMF is connected with many of the musicians that worked with Bob. They have the ability to connect the information that Bob wrote down from the engineering standpoint and re-connect it with the musicians that worked with Bob to create it. I have witnessed this first hand. I am telling you, this type of documentation and interpretation would be impossible with the items at Cornell. Think of all of the nuggets that have come out of the BMF. Stories, video clips, etc. Remember all of those insights? It is almost as if Bob were still here. Cornell will most definitely have a totally different output. It will be much more sterilized and scholastic.
I saw first hand the work that Michelle and her team have done. There were literally rooms of material laying in in total disarray. One piece of gear that was salvaged by her team was the very last minimoog made from the original factory. The synth was barely salvageable at the time. That was in 2006. Had it laid there, out in the shed, exposed to the elements, do you think it would even be salvageable today? And, even if it were, do you honestly believe that Cornell would even restore it? In the list of items, it most likely would not be on the top of the list. But the reason that this synth was so iconic to save was that back in the day, Bob had the fore-site to know that something like this should be preserved. Remember, this was at a time when you couldn't give analog synths away! Bob was like that, he knew to save things not for himself or his own legacy, but because some day, these things will be important to someone.
Another example, the BMF has restored 100 recordings. I have heard some of these. Amongst them is a recording where Bob sent a minimoog prototype to Sun Ra to play with and asked Sun Ra to let him know what he thought of the synth. Sun Ra used it in a performance the night that they received it. They did not have a user manual or any instructions, they just went with it. Sun Ra recorded this performance and sent the tape to Bob. This was the first recording of the minimoog and it was also an iconic recording of a concert as well. I can tell you that if this recording goes to Cornell, no one will be able to hear it. The licensing rights will never be able to be cleared by them for public consumption. No way a record label will give that away easily. Way too broad of a license. Where as the BMF would be allowed to play these recording during their exhibits and seminars because they would be able to keep custody of the recording preventing broad public dissemination.
I could go on, but I have probably typed your eyes out! :)"
You'll find the petition here.
Update4:
BMF Board President Bryan Bell Responds to Ileana Grams-Moog
"On July 26th, Ileana Grams-Moog issued an online statement regarding her decision to transfer Bob's archives to Cornell University. After much consideration, President of the BMF Board of Directors, Bryan Bell, has decided to issue an open letter to address the misinformation in that statement.
An Open Letter from Bryan Bell, President of the Board of Directors, The Bob Moog Foundation
The past three weeks have been hard ones for the children of Bob Moog and the staff, board, and friends of the Bob Moog Foundation (BMF). As President of the BMF Board of Directors, I am profoundly disappointed in Dr. Ileana Grams-Moog’s decision to withdraw her support for the BMF, a not-for-profit organization devoted to perpetuating Bob’s love of music and innovation, the manner in which she chose to do it, and her exclusion of key facts.
I knew Bob well. We were colleagues and friends for more than 30 years. During that time, we collaborated on projects and solved problems that changed the way music is made. I serve on the BMF board because it is the truest representation of Bob’s legacy. That is why I also know how sad it would make him to see what is happening in his name, and why we should all be asking Ileana a few questions.
What’s behind the sudden decision to take the archives away from the BMF?
On Feb. 14, 2013, after 18 months of personally and directly negotiating with Ileana, we agreed upon the BMF’s temporary custody of the archives and management of Bob’s Rights of Publicity (his name, image, signature, and voice). This was the first step towards a much larger agreement between us. In the words of the interim agreement, we were working “together in good faith to define and execute a mutually satisfactory [larger] Agreement as rapidly as possible,” or so I thought.
Suddenly, on February 25, Ileana notified me that she would not sign the interim agreement, based on information she had received from Moog Music President Mike Adams. (Note: Mr. Adams was a BMF board member at the time these discussions took place.) The BMF quickly addressed Ileana’s concerns in writing, concerns that she never voiced to me as the BMF board president and concerns that were later proven to have no basis in fact.
Why was there no consultation with Bob’s children about the future of their father’s archives and his Rights of Publicity?
What about money?
We all agree that Bob’s legacy is priceless, but his share of Moog Music and his Rights of Publicity have price tags. Because Ileana has chosen to publically disclose the BMF’s offer to purchase the archives, I challenge her to disclose the detailed terms, both financially and legally, of her sale of Bob’s share of Moog Music and her sale of Bob’s Rights of Publicity to Mike Adams.
Was there a financial contribution to Cornell from Moog Music regarding the archives? Will Moog Music, for example, have access to the Cornell Archives for their commercial purposes? Will the Bob Moog Foundation and Bob’s children have access to the archives for their own use?
Has The BMF been a good steward of Bob’s archives?
The answer is an unequivocal YES. For seven years The BMF has consistently acted in the best interest of Bob's legacy, rescuing his archives from moisture, dirt and mildew; storing the archives in secure climate controlled storage; entering into a lease with the N.C. Department of Cultural Resources to secure state-of-the-art archival facilities in Western N.C.; and making the difficult but prudent decision to defer a capital campaign to fund building of the Moogseum.
Ileana has said that her decision to move the archives was based, in part, on the fact that construction has not started on The Moogseum, the eventual Asheville home for Bob’s archives. At no time did she ever communicate that requirement to the BMF Board or me. Furthermore, during her tenure as president of the BMF Board, Ileana personally oversaw the decision to postpone the Moogseum’s capital campaign until the economy recovered from the nation’s worst financial crisis since the Great Depression. The economy aside, great museums take a long time to build. The Rock and Roll Hall of Fame, for example, took 16 years to plan before breaking ground.
The BMF’s leadership, board and staff have intentionally stayed above the fray, and we encourage our supporters to do the same. Ileana’s decision to move the archives, which was announced in a press release written and distributed by Moog Music’s public relations firm and posted on Moog Music’s website, has unleashed negative comments, many of which raise questions about the role Mike Adams and Moog Music played in Ileana’s sudden change of heart. The BMF has chosen to take the high road, and we will continue to do so, despite many inaccurate comments from Ileana and Mike Adams. That’s what Bob would expect of us. But Ileana’s decision and its timing, the wording of the announcement and the secrecy surrounding its release raise troubling questions about whose interests are really being served by Ileana’s actions.
As for The BMF, we will continue to do what we do best – inspiring and igniting creativity through historic preservation of the Bob Moog Foundation Archives and creating programs like Dr. Bob’s SoundSchool, that introduce children to the power of music, science, and innovation. Nothing would have made Bob happier or prouder.
(Trademarks referred to in this letter are the property of their respective owners)
Sincerely,
Bryan Bell, President
Bob Moog Foundation Board of Directors
Bryan Bell is President and Founder of Synth-Bank Consulting, LLC (Synth-Bank®) a technology practice focusing on using technology to enhance business and creative processes. Bryan spent 20 years consulting and pioneering technology innovation for high-profile corporations and entertainers, including Apple, Domain Chandon, NBC, GEIS, Herbie Hancock, Carlos Santana, Neil Young, Branford Marsalis and INXS. He has served continuously for over 20 years on the board of directors of The Bridge School. Bryan holds a DIS from Harvard University’s Graduate School of Business Administration and has been a speaker at conferences around the world. Bryan Bell’s latest music production project, “Duality”, by Nestler and Hawtin was recently released on iTunes."
"A move to ship Bob Moog's archives from Asheville to New York is creating family discord over the best way to preserve the late inventor's legacy.
An electronic music titan, Bob Moog founded Moog Music, the world's leading manufacturer of analog synthesizers. His widow, Ileana Grams-Moog, announced July 18 that she's planning to donate his personal archive of notes, plans, drawings and recordings to the Cornell University Library's Division of Rare and Manuscript Collections in Ithaca, N.Y.
'It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,' Asheville resident Grams-Moog said in a press release. 'The Cornell Library makes its extensive rare collections accessible to students and scholars all over the world.'
Noting that Moog earned his Ph.D. in engineering physics from Cornell in 1965, she added: 'It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved and made available to current and future generations to advance upon his work.'
However, Grams-Moog makes no mention of the Bob Moog Foundation in her announcement, which has overseen the preservation of those archives for the last seven years in Asheville, where Moog lived from 1979 until his death in 2005. The foundation is a nonprofit organization run by Michelle Moog-Koussa, the inventor's daughter, who says that she and other family members are surprised and disappointed by the decision to ship the archives out of town..."
...
"Upon hearing of Grams-Moog's intentions to move the archives out of town, Moog-Koussa says the foundation is now 'considering our options.'
She adds: "No matter what happens, the Bob Moog Foundation will continue to carry on Bob Moog's legacy, and that his legacy is alive and well in our educational projects, which are thriving in this area.'"
----
My notes:
What is your opinion on this? Personally, the number one priority in my opinion is keeping the documents safe. I think they would be safe at either Cornell or The Bob Moog Foundation, so that imo is not an issue. The issue then is where would they be of the most value to the community and how do you define that? Exposure to the public or access to researchers? I don't see Cornell being as pro-active in spreading the works of Bob Moog as The Bob Moog Foundation. I think the archives may be safe in Cornell but my fear is that they will be all but forgotten aside from those that take the time to research them and then share that research with us. In other words, they will essentially disappear into the ether, unless someone makes the effort otherwise. The BMF was doing that. With the Bob Moog Foundation, his research would be at the forefront and present in everything they do. Your opinion? Click on the comments link below. Note although it currently reads 0, Facebook comments are there. Blogger only counts blogger comments in the count. It might take a sec for the Facebook comments to load after clicking the link.
Update: The following is the official press release on the move. I received it from Moog Music and Hummingbird Media a separate press outlet:
Inventor’s Alma Mater to Receive Rich Collection
Yesterday Cornell University announced the archives of Dr. Robert A. Moog have found a home at their Sidney Cox Library of Music & Dance, thanks to a generous donation from his widow, Dr. Ileana Grams-Moog.
Dr. Robert A. Moog is the founder of Moog Music, the world’s leading manufacturer of analog synthesizers, and the inventor of the legendary Moog synthesizer. He received his Ph.D. from Cornell in engineering physics in 1965 and was a longtime resident of Trumansburg, N.Y. His personal archive of notes, plans, drawings, recordings and more will be housed in the Library’s Division of Rare and Manuscript Collections.
“It was Bob‘s wish that his archives be preserved and made accessible to other scientists, inventors, engineers and innovators,” Grams-Moog said. “It has been eight years since my husband’s death and I am happy that my gift to Cornell will finally make this rich collection available. Bob would be pleased to know his life’s work is finally being properly preserved so that current and future generations may advance upon his work.”
Cornell has flourished as a center for research in music since the Sidney Cox Library of Music & Dance was founded in 1929, and its extensive holdings include a special focus on historical keyboard instruments. It collects heavily in 20th- and 21st-century music of Europe and the United States, including electronic music and music by Cornell composition alumnae.
“We’re thrilled to welcome this donation to Cornell, and we look forward to welcoming researchers from all over the world who hope to learn more about Dr. Moog’s life and work, ” said Anne R. Kenney, Carl A. Kroch University Librarian. “We pride ourselves on not only preserving valuable historical knowledge, but providing access to one-of-a-kind, original materials to as many people as possible.”
Dr. Grams-Moog continued, “Cornell is a 150-year-old institution with a long history of stewardship and dissemination of rare and valuable collections for education and research. Donating Bob’s archives to the university is the best opportunity to preserve and protect them so they will finally be accessible to students and scholars worldwide. In addition, they will be available to future generations long after we’re all gone.”
About Cornell University Library
Cornell University Library’s rich collections, expert librarians, responsive services and welcoming spaces inspire and nourish scholarship and learning throughout the university. Its world-class collection — nearly 8 million print volumes, nearly a million e-books and 5 million journal article downloads per year — covers incredibly diverse fields. The Sidney Cox Library of Music & Dance provides extensive holdings of printed materials and recordings to support the study of music."
--------------------
Update2: Michelle Moog-Koussa of The Bob Moog Foundation issues statement:
"Dear Friend,
The Bob Moog Foundation takes seriously its role as the only non-profit organization dedicated to preserving, protecting and promoting my father’s work for future generations. In was in this capacity that the Foundation made significant investments over the past seven years to rescue the majority of my father’s archives, and to protect and preserve them to prevent further deterioration from occurring.
Our efforts have included re-housing the collection in archival quality storage materials, securing climate controlled storage, cataloging thousands of items, cleaning and restoring a breadth of materials including almost 100 reel-to-reel tapes in the collection, and most recently securing state-of-the-art archival storage and processing facilities where researchers from around the world could acess the archives.
We have also worked to share the archives through many exhibits from California to our local region, exposing tens of thousands of people to the unique information and insights that the archives contain.
We did this based on a verbal understanding that these documents would eventually be donated to the Foundation.
Yesterday, an annoucement was made that Cornell University will be receiving Bob's archives. The announcement was made by Bob's widow, Ileana Grams-Moog, with whom we have been working closely for the past seven years, up until as recently as February 18, 2013.
The decision to abandon a pending agreement, which ignores the Foundation’s stewardship of my father’s archives, and move them out of Western North Carolina is disappointing and, we believe, not in keeping with my father’s intent. Asheville was my father’s home for 25 years and, in the end, his spiritual home. It is important that his archives remain in Asheville and that they are administered by the Bob Moog Foundation, where they can be considered within a wide musical and technological context and where they will benefit from being interpreted by the unified network of experts that surround the Foundation’s work.
The Moog Family is saddened and surprised not to be part of the discussion to move our father’s archives away from the organization where they would receive the most well-rounded care, and away from the area where the Bob Moog Foundation, Moog Music, and Moogfest are located.
Over the years, you have been witness to all of the dedicated work we have done for the archives. Many of you have visited our exhibits and complimented our efforts. At this time, we ask that you support us on Facebook and other outlets by reposting and commenting in ways that are reflective of our work.
With or without Bob's archives, the Bob Moog Foundation Archives remains a robust collection of historic materials that we have obtained, or that have been donated to us. We remain a repsitory of materials that represent the evolution of electronic music history. We are excited to be sharing some of the incredible material that we have obtained with you over the coming months. Please keep your eyes open for that.
I may be reaching out soon with other ways that you can help. Until then, I remain
Devotedly yours,
Michelle
Michelle Moog-Koussa
Executive Director
Bob Moog Foundation
P.S. Should you have any concerns about this topic, please be in touch at info@moogfoundation.org."
Update3 (also posted here):
Online Petition to Keep Bob Moog's Archives in Asheville with the BMF
You'll find the petition here.
The petition was setup up via Michael Koehler who sent in the following:
"I am not involved with the BMF, but am friends with Michelle. She knows that I am doing this.
I am very passionate about it because I was fortunate to knew Bob for a short while and know that he would not want things to go the way that they are going right now. I am not trying discredit Cornell or say anything bad about them. They are a fine institution. I am just trying to help them see what moving the archives would mean.
There is so much more to this material. It is not simply 'Bob's stuff'. In Bob's work, he always included colleagues and musicians in the development of his works. If we send these notes off to some storage facility where only scholars can reference them, most of this is lost. The BMF is connected with many of the musicians that worked with Bob. They have the ability to connect the information that Bob wrote down from the engineering standpoint and re-connect it with the musicians that worked with Bob to create it. I have witnessed this first hand. I am telling you, this type of documentation and interpretation would be impossible with the items at Cornell. Think of all of the nuggets that have come out of the BMF. Stories, video clips, etc. Remember all of those insights? It is almost as if Bob were still here. Cornell will most definitely have a totally different output. It will be much more sterilized and scholastic.
I saw first hand the work that Michelle and her team have done. There were literally rooms of material laying in in total disarray. One piece of gear that was salvaged by her team was the very last minimoog made from the original factory. The synth was barely salvageable at the time. That was in 2006. Had it laid there, out in the shed, exposed to the elements, do you think it would even be salvageable today? And, even if it were, do you honestly believe that Cornell would even restore it? In the list of items, it most likely would not be on the top of the list. But the reason that this synth was so iconic to save was that back in the day, Bob had the fore-site to know that something like this should be preserved. Remember, this was at a time when you couldn't give analog synths away! Bob was like that, he knew to save things not for himself or his own legacy, but because some day, these things will be important to someone.
Another example, the BMF has restored 100 recordings. I have heard some of these. Amongst them is a recording where Bob sent a minimoog prototype to Sun Ra to play with and asked Sun Ra to let him know what he thought of the synth. Sun Ra used it in a performance the night that they received it. They did not have a user manual or any instructions, they just went with it. Sun Ra recorded this performance and sent the tape to Bob. This was the first recording of the minimoog and it was also an iconic recording of a concert as well. I can tell you that if this recording goes to Cornell, no one will be able to hear it. The licensing rights will never be able to be cleared by them for public consumption. No way a record label will give that away easily. Way too broad of a license. Where as the BMF would be allowed to play these recording during their exhibits and seminars because they would be able to keep custody of the recording preventing broad public dissemination.
I could go on, but I have probably typed your eyes out! :)"
You'll find the petition here.
Update4:
BMF Board President Bryan Bell Responds to Ileana Grams-Moog
"On July 26th, Ileana Grams-Moog issued an online statement regarding her decision to transfer Bob's archives to Cornell University. After much consideration, President of the BMF Board of Directors, Bryan Bell, has decided to issue an open letter to address the misinformation in that statement.
An Open Letter from Bryan Bell, President of the Board of Directors, The Bob Moog Foundation
The past three weeks have been hard ones for the children of Bob Moog and the staff, board, and friends of the Bob Moog Foundation (BMF). As President of the BMF Board of Directors, I am profoundly disappointed in Dr. Ileana Grams-Moog’s decision to withdraw her support for the BMF, a not-for-profit organization devoted to perpetuating Bob’s love of music and innovation, the manner in which she chose to do it, and her exclusion of key facts.
I knew Bob well. We were colleagues and friends for more than 30 years. During that time, we collaborated on projects and solved problems that changed the way music is made. I serve on the BMF board because it is the truest representation of Bob’s legacy. That is why I also know how sad it would make him to see what is happening in his name, and why we should all be asking Ileana a few questions.
What’s behind the sudden decision to take the archives away from the BMF?
On Feb. 14, 2013, after 18 months of personally and directly negotiating with Ileana, we agreed upon the BMF’s temporary custody of the archives and management of Bob’s Rights of Publicity (his name, image, signature, and voice). This was the first step towards a much larger agreement between us. In the words of the interim agreement, we were working “together in good faith to define and execute a mutually satisfactory [larger] Agreement as rapidly as possible,” or so I thought.
Suddenly, on February 25, Ileana notified me that she would not sign the interim agreement, based on information she had received from Moog Music President Mike Adams. (Note: Mr. Adams was a BMF board member at the time these discussions took place.) The BMF quickly addressed Ileana’s concerns in writing, concerns that she never voiced to me as the BMF board president and concerns that were later proven to have no basis in fact.
Why was there no consultation with Bob’s children about the future of their father’s archives and his Rights of Publicity?
What about money?
We all agree that Bob’s legacy is priceless, but his share of Moog Music and his Rights of Publicity have price tags. Because Ileana has chosen to publically disclose the BMF’s offer to purchase the archives, I challenge her to disclose the detailed terms, both financially and legally, of her sale of Bob’s share of Moog Music and her sale of Bob’s Rights of Publicity to Mike Adams.
Was there a financial contribution to Cornell from Moog Music regarding the archives? Will Moog Music, for example, have access to the Cornell Archives for their commercial purposes? Will the Bob Moog Foundation and Bob’s children have access to the archives for their own use?
Has The BMF been a good steward of Bob’s archives?
The answer is an unequivocal YES. For seven years The BMF has consistently acted in the best interest of Bob's legacy, rescuing his archives from moisture, dirt and mildew; storing the archives in secure climate controlled storage; entering into a lease with the N.C. Department of Cultural Resources to secure state-of-the-art archival facilities in Western N.C.; and making the difficult but prudent decision to defer a capital campaign to fund building of the Moogseum.
Ileana has said that her decision to move the archives was based, in part, on the fact that construction has not started on The Moogseum, the eventual Asheville home for Bob’s archives. At no time did she ever communicate that requirement to the BMF Board or me. Furthermore, during her tenure as president of the BMF Board, Ileana personally oversaw the decision to postpone the Moogseum’s capital campaign until the economy recovered from the nation’s worst financial crisis since the Great Depression. The economy aside, great museums take a long time to build. The Rock and Roll Hall of Fame, for example, took 16 years to plan before breaking ground.
The BMF’s leadership, board and staff have intentionally stayed above the fray, and we encourage our supporters to do the same. Ileana’s decision to move the archives, which was announced in a press release written and distributed by Moog Music’s public relations firm and posted on Moog Music’s website, has unleashed negative comments, many of which raise questions about the role Mike Adams and Moog Music played in Ileana’s sudden change of heart. The BMF has chosen to take the high road, and we will continue to do so, despite many inaccurate comments from Ileana and Mike Adams. That’s what Bob would expect of us. But Ileana’s decision and its timing, the wording of the announcement and the secrecy surrounding its release raise troubling questions about whose interests are really being served by Ileana’s actions.
As for The BMF, we will continue to do what we do best – inspiring and igniting creativity through historic preservation of the Bob Moog Foundation Archives and creating programs like Dr. Bob’s SoundSchool, that introduce children to the power of music, science, and innovation. Nothing would have made Bob happier or prouder.
(Trademarks referred to in this letter are the property of their respective owners)
Sincerely,
Bryan Bell, President
Bob Moog Foundation Board of Directors
Bryan Bell is President and Founder of Synth-Bank Consulting, LLC (Synth-Bank®) a technology practice focusing on using technology to enhance business and creative processes. Bryan spent 20 years consulting and pioneering technology innovation for high-profile corporations and entertainers, including Apple, Domain Chandon, NBC, GEIS, Herbie Hancock, Carlos Santana, Neil Young, Branford Marsalis and INXS. He has served continuously for over 20 years on the board of directors of The Bridge School. Bryan holds a DIS from Harvard University’s Graduate School of Business Administration and has been a speaker at conferences around the world. Bryan Bell’s latest music production project, “Duality”, by Nestler and Hawtin was recently released on iTunes."
Thursday, December 22, 2005
Minimoog Gear P*rn
Title link takes you to a nice Minimoog Gear P*rn thread on VSE. Includes shots of the Moog Mini A, Mini B, Mini C and Mini D. Note the first shots in the thread are from the Moog Archives site, but there are some after that. What's interesting are a couple of shots from Micke of Sun Ra using the Model B prototype (it was never released to production). Also note the Sequential Circuits looking outlines around the different editing sections. After the hop make sure to note the Mini C and Mini D shots with slider for pitch and mod controllers instead of wheels.
Moog Archives Mini B Shot
Sun Ra Mini B
Moog Archives Mini B Shot
Sun Ra Mini B
Monday, August 13, 2018
First Patch - Minimoog | Red Bull Music Academy
Published on Aug 12, 2018 Red Bull Music Academy
"How to get started making music on the miniMoog, an instrument by Moog used by the likes of Sun Ra, Giorgio Moroder and Gary Numan."
First Patch Red Bull Music Academy Videos
Wednesday, July 11, 2007
Mickey Moonlight - Interplanetary Music
YouTube via TAMcorp.
"Music promo for a cover of Sun Ra's "Interplanetary Music" by Mickey Moonlight. Shot on a Krasnogorsk-3 16mm camera at various locations in the Andromeda Galaxy. Featuring Susumu Mukai (Zongamin), Bishi, Suzy Silver & Mickey Moonlight. Directed by Mike Silver. Produced by Mike & Suzy Silver. Camera Operators: Matt Fletcher, Mike Silver & Fred Wihlborg. www.TAMcorporation.com"
via Mickey Moonlight:
"the kit list for the album is pretty interesting (imo)..
Korg Mini-Korg 700-S, Farfisa Syntorchestra, Roland Jupiter 4, Roland VP-330, Roland SH-2000, Moog Minimoog, Wurlitzer EP200A, BBC Portable Tone Source PTS-13, modified Roland TR-606, Korg mini-pops junior, Pearl Syncussion SYN-1, Fender Telecaster, Hohner B-Bass, Marshall Model 5002 “A” System, Dynachord TAM-19, Roland SPF-325 , Boss Dimension C DC-2, Moog MF 103, home made ring modulator, home made valve phaser, WEM Copycat Super Shadow Type 1, Master Room MR II, STC 4038 (BBC), STC 4033A (BBC), STC 4032, home made microphone pre-amp, Akai M-8, Revox PR99, Thermionic Culture - Culture Vulture, Manley Variable Mu, TLA EQ-1, NOS Mullard valves, Digitech Studio Vocalist, Apple iMac G5, Apple Logic Pro 7, Native Instruments Reaktor 5, Destroy FX.
the vid does features a very rare bbc portable tone source pts-13. the guy i bought it from claimed that it was saved from being scrapped by someone from the radiophonics workshop, where it was used for years. i have no way of verifying this and have always suspected it to be pure provenance hype to encourage me to buy it.you can see some pics of it here...
http://www.mickeymoonlight.com/DSC01017.jpg
http://www.mickeymoonlight.com/DSC01016.jpg
http://www.mickeymoonlight.com/DSC01015.jpg
http://www.mickeymoonlight.com/DSC01014.jpg"
Tuesday, March 07, 2006
Analog Synth Record Collection
Check out this auction list while it's up. There is a slew of old analog synth records. I saved off the album covers, titles and any details given for each; title link takes you to one monster htm file. I listed the albums below as well for anyone that wants to search for them in the future.
-Moog Synthesizer, The Essential, Perrey & Kingsley
-Moog Synthesizer, Moog Indigo by Jean Jacques Perrey
-Amazing New Sound of Jean Jacques Perrey
-Spotlight on the Moog; Kaleido-scopic vibrations
-The in sound from way out, Perrey - Kingsley
-First Moog Quartet by Gershon Kingsley
-Yankee Transdoodle; ARP 2600 + Obenheim equipt.
-Giorgio; 1977, exclusively electronic keyboards
-It's about time, Tonto
-White Noise / An Electric Storm
-Plugged in Joplin, Minimoog and EMS Synthi AKS, 1974
-Firebird by Isao Tomita
-Ragnarok; Electronic funk by Paul Beaver and Bernard L. Krause
-Skylab; Electronic butterflies play instrumental hits
-Electronic Music for Jean Dubuffet's Coucou Bazar by Ilhan Mimaroglu
-All Good Men by Beaver and Krause
-Beyond the sun, the planets Patrick Gleason and the Eu Polyphonic Synth
-Electric Love Moog synthesizer and strings
-Good morning Starshine with Moog synth by Tartaglia
-Mother Mallards Portable Masterpiece Co recorded at R.A. Moog !
-Short Circuits by Ruth White / Moog Synthesizer
-Moog synthesizer album, Everything you always wanted to hear on the Moog but were afraid to ask
-Music to Moog by Gershon and Kingsley
-Quadradisc Highlights - quadraphonic record album
-Electronic Hair Pieces Mort Garson with Moog synthesizer
-Copper Plated Integrated Circuit - 1969
-Switched On Gershwin - Moog synthesizer
-White Noise 2 David Vorhaus, 1975, Concerto for synth
-Popcorn Gershon Kingsley's First Moog Quartet
-Apollo 100 Masterpieces includes Popcorn
-Hot Butter with Stan Free at the Moog synthesizer
-Realistic Life Mechanical Sound Effects record album
-Flowers Of Evil
-Moog Synthesizer, The Essential, Perrey & Kingsley
-Moog Synthesizer, Moog Indigo by Jean Jacques Perrey
-Amazing New Sound of Jean Jacques Perrey
-Spotlight on the Moog; Kaleido-scopic vibrations
-The in sound from way out, Perrey - Kingsley
-First Moog Quartet by Gershon Kingsley
-Yankee Transdoodle; ARP 2600 + Obenheim equipt.
-Giorgio; 1977, exclusively electronic keyboards
-It's about time, Tonto
-White Noise / An Electric Storm
-Plugged in Joplin, Minimoog and EMS Synthi AKS, 1974
-Firebird by Isao Tomita
-Ragnarok; Electronic funk by Paul Beaver and Bernard L. Krause
-Skylab; Electronic butterflies play instrumental hits
-Electronic Music for Jean Dubuffet's Coucou Bazar by Ilhan Mimaroglu
-All Good Men by Beaver and Krause
-Beyond the sun, the planets Patrick Gleason and the Eu Polyphonic Synth
-Electric Love Moog synthesizer and strings
-Good morning Starshine with Moog synth by Tartaglia
-Mother Mallards Portable Masterpiece Co recorded at R.A. Moog !
-Short Circuits by Ruth White / Moog Synthesizer
-Moog synthesizer album, Everything you always wanted to hear on the Moog but were afraid to ask
-Music to Moog by Gershon and Kingsley
-Quadradisc Highlights - quadraphonic record album
-Electronic Hair Pieces Mort Garson with Moog synthesizer
-Copper Plated Integrated Circuit - 1969
-Switched On Gershwin - Moog synthesizer
-White Noise 2 David Vorhaus, 1975, Concerto for synth
-Popcorn Gershon Kingsley's First Moog Quartet
-Apollo 100 Masterpieces includes Popcorn
-Hot Butter with Stan Free at the Moog synthesizer
-Realistic Life Mechanical Sound Effects record album
-Flowers Of Evil
HOME
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
© Matrixsynth - All posts are presented here for informative, historical and educative purposes as applicable within fair use.
MATRIXSYNTH is supported by affiliate links that use cookies to track clickthroughs and sales. See the privacy policy for details.
MATRIXSYNTH - EVERYTHING SYNTH
